After a decade of shaping African music, is Olamidé the masterpiece that finally wins Olamide a Grammy?
For over a decade, Olamide Adedeji, popularly known as Baddo, has remained one of the most influential and consistent voices in Nigerian music. From Rapsodi in 2011 to UY Scuti in 2021, he’s shaped Afrobeats, indigenous rap, and the broader African pop scene. Now, with his newly released self-titled album Olamidé, conversations are growing louder: could this finally be the project that wins Olamide a Grammy?
The conversation isn’t coming out of nowhere. After years of influencing African music from the streets of Bariga to global stages, Olamide secured his first Grammy nomination in 2023 for Amapiano, a collaboration with his YBNL signee Asake. Though he missed out on the trophy, the recognition placed him firmly on the Recording Academy’s radar. Now, with Olamidé, his 11th studio album, hopes are rising that the stars might finally align for one of African music’s most respected veterans.
This article breaks down the album’s qualities, Olamide’s remarkable career, and how the Grammy world works to assess its chances.
Firstly, Olamide’s position in the African music industry transcends charts and viral hits. He has been the voice of the streets, a gatekeeper of indigenous rap, and a mentor to the next generation of hitmakers. Through his YBNL label, he’s launched and guided the careers of Fireboy DML, Lil Kesh, Adekunle Gold, and Asake. These are acts who have, in turn, reshaped Afrobeats on their own terms.
Additionally, his ability to balance street credibility with commercial success is rare. While many Nigerian artists gravitate towards pop-friendly sounds to break into international markets, Olamide has remained loyal to his roots, blending Yoruba, Pidgin, and English over beats that fuse street-hop, konto, highlife, and house. Yet, he’s never been afraid to evolve. His last few albums reflected a gradual shift towards a more mellow, reflective sound without losing his signature edge.
Olamidé the album
Released on June 19, 2025, Olamidé is more than just another addition to his discography. The album’s title, which translates to “my wealth has come” in Yoruba, carries personal weight. The project marks a period of introspection for the rapper, now a father, mentor, and industry veteran, reflecting on his journey and influence.
Also, the 17-track project weaves through themes of gratitude, ambition, spirituality, street wisdom, and love. Songs like Hasibunallah capture Olamide’s sense of divine alignment in his career, while tracks like Ruba and Luvaluvah delve into matters of the heart. It notably sampled Lauryn Hill’s classic Can’t Take My Eyes Off of You.
Meanwhile, high-profile collaborations feature heavily. Kai!, the album’s lead single featuring Wizkid, cracked the U.S. Billboard Afrobeats chart and the UK Afrobeats Singles chart, while Indika with Dr. Dre sparked international buzz for its unexpected cross-cultural pairing. Other guest appearances include Popcaan, Asake, Seyi Vibez, Boj, and UK singer-songwriter Daecolm. On production duties, Olamide worked with top-tier Nigerian producers like P. Priime, Eskeez, and Semzi, crafting a soundscape that blends Lagos street pop with international finesse.
The success, reactions and criticism
Unsurprisingly, Olamidé stormed the charts upon release. In Nigeria, it became the first album to occupy all top 10 spots on both Apple Music and Spotify simultaneously. Internationally, it climbed to No. 1 on Apple Music UK’s Top Albums Chart, while Kai! found success on Billboard and in the UK. It also marked Olamide’s highest U.S.-charted album to date.
Notwithstanding, critics praised the album’s layered production, mature storytelling, and seamless genre-blending. Many noted its replay value and Olamide’s ability to fuse introspective musings with street anthems. However, some reviewers felt it didn’t match the deep thematic storytelling of earlier records like Eyan Mayweather or Carpe Diem. A few also pointed out the lack of female collaborators, a minor oversight in an era where inclusion increasingly influences Grammy and award circuit decisions.
Why everyone’s talking about a Grammy now
It is a fact universally acknowledged that the Grammy Awards remain one of the most prestigious recognitions in global music, and as such, African artists have increasingly staked their claim on the international stage. In recent years, Burna Boy, Wizkid, Tems, and Tyla have all secured nominations and wins, as the Recording Academy actively broadens its reach.
In 2024, the Grammys introduced the Best African Music Performance category, with Tyla’s Water taking the inaugural win, followed by Tems’ Love Me JeJe this year. Olamide’s Amapiano nomination last year made history as the first by a Nigerian rapper, hinting at a slow but steady expansion of the Academy’s African music palette.
While Olamidé could contend for the Best African Music Performance category with tracks like Billionaires Club or 99, its strongest play might be for Best Global Music Album. The category, which recognizes albums for their artistic achievement, technical proficiency, and cultural significance, irrespective of commercial success, has previously honored works from Angelique Kidjo, Burna Boy, and Ladysmith lack Mambazo. With its international collaborations, genre fusion, and Olamide’s track record as both an artist and executive, Olamidé fits the profile of past winners while bringing a uniquely street pop flavor to the table.
Why Olamidé is a Grammy worthy album
What gives Olamidé an edge is its careful balance of local authenticity and global ambition. Collaborating with the likes of Dr. Dre and Popcaan without losing the rawness of Lagos street music is no easy feat. The album’s cohesive vision, offering a jazz-bar-like experience, in Olamide’s words, reflects a maturity and confidence that often wins favor with Grammy voters.
Moreover, Olamide’s broader cultural footprint works in his favor. He’s appeared twice on Billboard’s Global Power Players list, remains the most followed African rapper on Instagram, X and YouTube, and commands respect as a pioneer in mainstreaming street pop.
The Recording Academy has historically valued such figures, artists whose influence extends beyond music charts into shaping cultural and sonic trends. Olamidé, being a reflective project that consolidates his decade-long contributions, offers that narrative.
What could go wrong
Still, the road to a Grammy is far from straightforward. The African music categories are fiercely competitive, with perennial heavyweights like Burna Boy, Wizkid, Tems, Davido, and rising stars like Ayra Starr and Tyla all in contention. The absence of female voices on Olamidé may also be flagged in diversity-sensitive voting environments.
Another hurdle for Olamide is the unpredictability of Grammy politics. While artistic merit is paramount, external factors like industry relationships, media narratives, and trends, often play an invisible hand.
Final take
In conclusion, is Olamidé Grammy-worthy? Yes. It’s a mature, well-produced, globally-minded album that retains cultural authenticity while appealing to a broader audience. Whether in the Best Global Music Album or Best African Music Performance categories, it possesses the artistic and cultural weight to earn a nomination, if not a win.
But whether the Grammy comes or not, the impact of Olamide is already cemented. His ability to consistently evolve, mentor new stars, and globalize street pop without diluting its roots ensures his influence will outlast any award season. Olamidé might just be his most compelling case yet. It is a powerful reminder that greatness is sometimes about legacy, not just trophies.
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